PipeChat Digest #3857 - Wednesday, August 6, 2003
 
Re: Favorite reed
  by "Bruce Cornely" <cremona@cervo.net>
Re: St. Bavo Reeds
  by <TubaMagna@aol.com>
Re: Favorite Reed
  by <ContraReed@aol.com>
Re: Favorite reeds
  by <RMB10@aol.com>
Re: Favorite reeds
  by <ContraReed@aol.com>
Re: church music in the conservatories
  by <MFoxy9795@aol.com>
Favorite reeds
  by "David Baker" <dbaker@lawyers.com>
Re: hated  reeds
  by "Colin Mitchell" <cmys13085@yahoo.co.uk>
hated reeds
  by "Gary Black" <gblack@ocslink.com>
RE: hated reeds
  by "Jeff White" <reedstop@prodigy.net>
theatre organs at Eastman
  by "terry hicks" <Terrick@webtv.net>
Re: Teaching theatre organists
  by <MUSCUR@aol.com>
 

(back) Subject: Re: Favorite reed From: "Bruce Cornely" <cremona@cervo.net> Date: Tue, 5 Aug 2003 21:31:03 -0400   From: "Tyler Robertson" <brad_taylor32@hotmail.com> <Let's talk about something happy. Here's the topic I propose for 4:30 AM: What is your favorite reed and why? >   A great fun topic. Thanks, Tyler.   I think my favorite reed is the Krummhorn, not to be confused with the Cromorne, but possibly similar to the Cremona (big surprise!). My fascination with and affection for this stop comes from it unique ability to take on various personalities. It can be plaintive, by itself. It can be warm, resembling an English Horn, by adding a 4' Koppelflute. It can be full by being paired with an 8' Gedekt. It can work like a trumpet by adding a 4' Principal. It can be very happy by working with a 2' flute, and even happier with a 2' or 1' Principal. And it can be fiery by teaming up with a Sesquialtera II. And, if that's not enough, it can work as a chorus reed to beef up the ensemble. It has other tricks, too, but enough for now.   Scritchies and Haruffarrroooo-bow-ha-wow...   Bruce, with Miles, Molly and Degui in the Muttastery at HowlingAcres http://members.tripod.com/Brucon502 Help Some Animals Free: http://tinyurl.com/2j5i and http://pets.care2.com/welcome?w=308025421 GET PAID to shop: http://ct.par32.com/?id=473FAAG381F58      
(back) Subject: Re: St. Bavo Reeds From: <TubaMagna@aol.com> Date: Tue, 5 Aug 2003 21:35:53 EDT   Is there a single reed in the entire Sint Bavo organ that is actually original, or retains its original voicing? Or are you gushing about 20th = century reeds?  
(back) Subject: Re: Favorite Reed From: <ContraReed@aol.com> Date: Tue, 5 Aug 2003 21:39:02 EDT   In a message dated 8/5/03 5:36:11 AM Eastern Daylight Time, brad_taylor32@hotmail.com writes:   << What is your favorite reed and why? >>   My favorite reed is one that I made from 30+ year old cane which I bought from a retired bassoonist from Madison, WI. It had a wider shape than I = liked, but was able to trim it down.... what??..... Not that kind of reed??... =   Isn't this the double-reed list???. .... oops!!!..... In the words of = Emily Latella: "Never mind"   Richard (slightly confused in Baltimore - I saw the heading and = immediately thought of bassoon reeds)  
(back) Subject: Re: Favorite reeds From: <RMB10@aol.com> Date: Tue, 5 Aug 2003 21:43:38 EDT   As been stated before, Skinner reeds (let me clarify, G. Donald Harrison's =   Skinner reeds) can't be beat. There is nothing warmer than an 8' Cor = d'Amour or Flugelhorn. We had one on the Moller at Calvary Church, Charlotte, and I used that stop much more than the Oboe. It was a beautiful solo stop, but also added some richness to the Swell ensemble. A Skinner French horn is a wonderful sound, as is a Skinner = English horn, not to mention the 16' Swell Waldhorn.   While the favorite reed topic is interesting, I think a much more lively topic could be had if we discussed most hated reed stops.........     Monty Bennett    
(back) Subject: Re: Favorite reeds From: <ContraReed@aol.com> Date: Tue, 5 Aug 2003 21:49:29 EDT   In a message dated 8/5/03 9:44:56 PM Eastern Daylight Time, RMB10@aol.com writes:   << Skinner reeds can't be beat. >>   AACCKKK!! There you go confusing me again. Lou Skinner was probably the best-known bassoon maker (at least among bassoonists) in the country. And his bassoon reeds were fantastic!   Richard (still confused in Baltimore - and a reed student of Lou)  
(back) Subject: Re: church music in the conservatories From: <MFoxy9795@aol.com> Date: Tue, 05 Aug 2003 22:24:29 -0400   amen to that. the extent of our church music education was to play one hymn on the sophomore jury.   Merry Foxworth Oberlin '67   )) -::- . .)) ((. .. -::-   An excerpt from Robert Giddings "Musical Quotes and Anecdotes", published in Longman Pocket Companions: "There let the pealing organ blow, To the full-voiced choir below, In service high, and anthems clear, As may with sweetness, through mine ear, Dissolve me into ecstasies, And bring all Heav'n before mine eyes". John Milton - Il Penseroso (1632).   Open Door Realty Boston, MA 02131 617 469-4888     In a message dated 8/5/2003 5:49:18 PM Eastern Daylight Time, quilisma@socal.rr.com writes:   > > And Bud, I'm interested that you attended Oberlin...so did I..class of > > '73. I must admit that the organ department did not do > enough with > > church music. That was a big hole in the curriculum. > > ......The basic repertoire at Oberlin in the 1960s was > > Buxtehude, Bach, Franck and Messiaen.    
(back) Subject: Favorite reeds From: "David Baker" <dbaker@lawyers.com> Date: Tue, 05 Aug 2003 22:48:14 -0400   I agree that the State Trumpet at St. John the Divinely Unfinished is at the top of my list (although I don't know about the Divine Dorothy). Second would be the 32' free reed in the pedal at Smoky Mary's (Times Square), which curls my already curly hair. David Baker    
(back) Subject: Re: hated reeds From: "Colin Mitchell" <cmys13085@yahoo.co.uk> Date: Wed, 6 Aug 2003 04:19:25 +0100 (BST)   Hello,   When does a reed qualify for the title of "most hated?"   I can think of a lot of bad reeds.   The raucous roughness of the 25" wind pedal reeds at Hull City Hall in the UK, which just about blow the plaster off the walls, and "fight" with the 32ft diaphone......awful, just awful!   Then there is the infamous 25" Tuba Mirabilus at York Minster, where barely two notes sound the same....it is rough and ready in the extreme.   The "joke" 1/4 length 32ft reed (Sordun?) at Worksop Priory, by Peter Collins, sounds like a ball-bearng in a bucket.   And yet, each of these have real character, and it is difficult to actually HATE them.   I suppose that if something is REALLY bad, it can become quite loveable in a perverse sort of way.   I have to say that I am not very partial to the overwhelming sound of Cavaille-Coll pedal reeds, but that is more of a personal preference than anything inherently bad about them.   I suppose the reeds I most "hate" are those which serve no real musical purpose other than to make a loud and vulgar noise; often swamping the chorus-work in the process. In this category have to be Harrison Tubas in the UK and those rather thunderous pedal Ophicleides derived from them.   Regards,   Colin Mitchell UK     --- RMB10@aol.com wrote:   > While the favorite reed topic is interesting, I > think a much more lively > topic could be had if we discussed most hated reed > stops.........     ________________________________________________________________________ Want to chat instantly with your online friends? Get the FREE Yahoo! Messenger http://uk.messenger.yahoo.com/  
(back) Subject: hated reeds From: "Gary Black" <gblack@ocslink.com> Date: Tue, 5 Aug 2003 22:36:37 -0500   I dislike the vox humana. I guess i have only heard awful ones that =3D buzz and are pathetic. Buzzey little reeds on light windpressure aren't = =3D any fun either. I really like strings better. Gary  
(back) Subject: RE: hated reeds From: "Jeff White" <reedstop@prodigy.net> Date: Tue, 5 Aug 2003 22:56:13 -0500   I'm not too fond of the Gross Dulzian on our Zimmer. Kinda nasaly...not like a good Krummhorn. It's especially bad with the Tremulant. I discovered that drawing the 8' flute and perhaps the 4' does give more of a Krummhorn-like sound.   I also have grown to wish that the bottom octave of the 16' Holzposaune was full length. I never knew the difference, but on this organ, you can really tell. The Great's Trompete 8' is the same way. Thin. Yuck. Bunjes had ALL KINDS of space he could have used to mitre or just put them outside the cases, but NOOOOO.   Oh well. <Shrug>   Jeff   -----Original Message----- From: pipechat@pipechat.org [mailto:pipechat@pipechat.org]On Behalf Of Gary Black Sent: Tuesday, August 05, 2003 10:37 PM To: PipeChat Subject: hated reeds     I dislike the vox humana. I guess i have only heard awful ones that buzz and are pathetic. Buzzey little reeds on light windpressure aren't any fun either. I really like strings better. Gary    
(back) Subject: theatre organs at Eastman From: "terry hicks" <Terrick@webtv.net> Date: Wed, 6 Aug 2003 00:37:26 -0500 (CDT)   Ken, Thanks for the info about Eastman and teaching theatre organ. It's a fascinating bit of history that NO ONE every mentioned - teachers, students, or the curators of the Eastman organs (for whom I worked during my summer months at home). What a hoot!    
(back) Subject: Re: Teaching theatre organists From: <MUSCUR@aol.com> Date: Wed, 6 Aug 2003 03:05:06 EDT   In a message dated 08/05/2003 12:58:23 PM Pacific Daylight Time, pipechat@pipechat.org writes:     > Where on earth did you get the impression that Eastman ever taught > students to play on theatre organs? Yes, > Harold Gleason played George Eastman's house organ, but that had nothing > to do with the School of Music.   Well, his impression is correct. The organ department at the Eastman = School of Music was founded to train theatre organists to professionally perform = in motion picture theatres- and their graduates went on to top jobs = throughout the country. The Wurlitzer practice organs were still in their rooms - some equipped with screening facilities - when my own university instructor, = Dr. Oswald G. Ragatz (I.U.) - attended the school.   Dennis James Musica Curiosa